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<article xsi:noNamespaceSchemaLocation="http://jats.nlm.nih.gov/publishing/1.1/xsd/JATS-journalpublishing1-mathml3.xsd" dtd-version="1.1" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance"><front><journal-meta><journal-id journal-id-type="publisher-id">SSR</journal-id><journal-title-group><journal-title>Scientific and Social Research</journal-title></journal-title-group><issn>2661-4332</issn><eissn>2981-9946</eissn><publisher><publisher-name>Bio-Byword Scientific Publishing Pty. Ltd.</publisher-name></publisher></journal-meta><article-meta><article-id pub-id-type="doi">10.26689/ssr.v4i3.3686</article-id><article-categories><subj-group subj-group-type="heading"><subject>Article</subject></subj-group></article-categories><title>Strategies for New Media Documentary Creation Based on the Psychology of the Audience</title><url>https://artdesignp.com/journal/SSR/4/3/10.26689/ssr.v4i3.3686</url><author>LiZhaoting,LiHuanqin</author><pub-date pub-type="publication-year"><year>2022</year></pub-date><volume>4</volume><issue>3</issue><history><date date-type="pub"><published-time>2022-03-23</published-time></date></history><abstract>In the new media era today, all kinds of film and television works are being rapidly updated and iterated. In the film and television market, the recognition of audience is the motivation to move forward. This article finds the needs of the audience through documentary changes in the new media environment, sees its essential problems and opportunities in the highly commercialized mass culture phenomenon of new media, and explores strategies for new media documentary creation.</abstract><keywords/></article-meta></front><body/><back><ref-list><ref id="B1" content-type="article"><label>1</label><element-citation publication-type="journal"><p>Gao Z, 2020, Watching and Consumption: The Pan-Bottomized Narrative of New Media Documentaries. Journal of Chongqing Jiaotong University (Social Science Edition), 20(06): 98-102.</p><pub-id pub-id-type="doi"/></element-citation></ref><ref id="B2" content-type="article"><label>2</label><element-citation publication-type="journal"><p>Li X, 2008, On the Audience’s Psychological Needs in the Narrative Context of Documentaries. Modern Audiovisual, 2008(01): 27-29.</p><pub-id pub-id-type="doi"/></element-citation></ref><ref id="B3" content-type="article"><label>3</label><element-citation publication-type="journal"><p>Zhang L, 2020, Efficient Communication Strategy Based on Audience Psychology. Editor’s Friends, 2013(05): 71-72, 115.</p><pub-id pub-id-type="doi"/></element-citation></ref><ref id="B4" content-type="article"><label>4</label><element-citation publication-type="journal"><p>Deng Y, 2020, Analyze the Differentiated Production of TV Documentaries and New Media Documentaries. Western Radio and Television, 2020(04): 106-108.</p><pub-id pub-id-type="doi"/></element-citation></ref><ref id="B5" content-type="article"><label>5</label><element-citation publication-type="journal"><p>Wang W, 2019, Research on the Development Status of China’s Micro-Documentary in the New Media Era, Harbin Normal University.</p><pub-id pub-id-type="doi"/></element-citation></ref><ref id="B6" content-type="article"><label>6</label><element-citation publication-type="journal"><p>Li J, 2020, The Creative Ideas of Micro-Documentary Under the New Media Environment – Taking “Breakfast China” as an Example. Audiovisual, 2020(12): 62-63.</p><pub-id pub-id-type="doi"/></element-citation></ref></ref-list></back></article>
